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EMPATHY AS DIALOGUE IN THEATRE AND PERFORMANCE

Empathy as Dialogue in Theatre and Performance

Lindsay B. Cummings

Empathy as Dialogue in Theatre and Performance

Lindsay B. Cummings University of Connecticut USA

ISBN 978-1-137-59325-2 ISBN 978-1-137-59326-9 DOI 10.1057/978-1-137-59326-9

(eBook)

Library of Congress Control Number: 2016940603 © The Editor(s) (if applicable) and The Author(s) 2016 The author(s) has/have asserted their right(s) to be identified as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. Cover illustration: © milos luzanin / Alamy Stock Photo Printed on acid-free paper This Palgrave Macmillan imprint is published by Springer Nature The registered company is Macmillan Publishers Ltd. London

ACKNOWLEDGEMENTS

Thank you to the Department of Dramatic Arts at the University of Connecticut, and to my wonderful friends and colleagues. In particular, thank you to Adrienne Macki Braconi, Michael Bradford, and Vincent J. Cardinal for the mentorship and emotional support, and to my students for their energy and enthusiasm. My gratitude, also, to the Department of Performing and Media Arts (previously Theatre, Film, and Dance) at Cornell University, where the ideas in this book first began to take shape. Sara Warner was and continues to be a mentor extraordinaire. I am also indebted to the guidance of Amy Villarejo, Philip Lorenz, J. Ellen Gainor, and Nick Salvato. Field research for Chap. 3 was funded by the Cornell American Studies Program, and a very early version of Chap. 4 was workshopped in a dissertation writing group funded by Cornell’s Society for the Humanities. I am thankful to many people for reading chapter drafts and talking through ideas, including Anne Beggs, Diana Looser, Aaron C.  Thomas, Aoise Stratford, Shea Cummings, and Thomas Meacham. Scott T.  Cummings and Erica Stevens Abbitt provided excellent editorial guidance on por